Peavey PA 700S User's Manual
Contents
1. The two MONITOR OUTPUT F G jacks are unbalanced with a nominal output impedance of 600 Ohms and are capable of approximately 2 0 Volts r m s output These jacks are connected in parallel The EFFECTS HIGH OUTPUT H is capable of 2 0 Volts r m s into 10 0 k Ohms and can be used to drive an additional power amplifier and speaker system from the effects buss to obtain an additional monitor send The EFFECTS LOW OUTPUT is a lower level signal than the effects high and is intended to drive the input of an effects devise such as an echo unit phasor etc It is capable of 0 4 Volts r m s into 10 0 k Ohms The REVERB FOOTSWITCH JACK J is used with an accessory footswitch to enable the operator to defeat the reverb function of the mixer from a remote position The MONITOR AUXILIARY INPUT K is an input to the monitor mixing busses to be used when patching another mixer to the PA 7005 These inputs can be used whenever an additional input is required to the monitor buss The MAIN AUXILIARY INPUTS A and B N are inputs to the main A and B mixing busses of the PA 700S These inputs are used when patching another mixer to the PA 700S or any time a signal source is to be placed on the monitor mixing buss The EFFECTS AUXILIARY INPUT L is the input to the effects mixing buss of the PA 7008 This input mixes a signal with the effects buss at the same point as the individual channels and is to be used when patching two mixers together or an2. PA 700S should be set in such a manner that they are close to the center of their travel to take advantage of maximum control action It is poor practice to run the channel faders up near maximum and then run the main faders near the low end to achieve the desired output levels Operation in this manner will cause the operator to loose his range in control action with all the gain located in one element while the other is near its stop position Best practice calls for most controls to be operated in their middle or slightly higher positions to allow maximum mixing control margins travel Remember when mixing you MUST allow yourself adequate margins within which to operate and by using any of the faders in their extreme close to stop positions you have effectively reduced your range of control This manner of operation also tends to create headroom problems These master controls allow the operator complete flexibility of functions and should allow almost any mixing situation to be handled by the PA 700S As with any reasonably complex system experience and operator knowledge of the equipment are essential for satisfactory performance The mixer like the musician s instrument should be practiced on and learned To properly operate a mixer during a per formance requires thorough knowledge and trained reflexes to allow proper responses under the stress of demanding and sometimes sudden situations The musician should know his mixer almos
3. B main output mixing busses The Pan control may be thought of as a kind of balance control determining the signal sent to either of the stereo outputs of the PA 700S This Pan control is present on all professional multi channel mixers and is useful in achieving many special effects in sound reinforcement as well as being absolutely necessary in stereo tape recording Again experimentation and hands on experience with the PA 700S are key factors in the use of the Pan control The Pan is capable of assigning the channel output to either A or B main channels or any combination in between It is impor tant to remember that the Pan control follows post the channel output fader The CHANNEL ATTENUATOR SLIDER 7 is the output level contro that determines the mix into the main summing buss Its calibration is in decibels of attenuation and this is why the numbering sequence goes from off infinity or maximum attenuation to zero 0 or no attenuation Remember that attenuation is the cutting or reduction of the signal level i e the more attenuation the more you have cut down the signal level The output fader is calibrated in accordance with standard practice for profes sional audio equipment Proper setting of the input attenuator pad should produce adequate gain within the input preamp to allow slider settings approximately in the center approximately 40 to 20 dB You should remember that the input attentuator is a kind of pre ga
4. PA 7005 OPERATOR S MANUAL PA 7005 If any mixing unit is to be compatible with a wide variety of input signals it must have the capa bility to control the sensitivity of each channel This requires an INPUT ATTENUATOR 1 some times referred to an an input pad Some mics and signal sources can be at such a level as to overdrive or clip the input circuitry of a mixer An input attenuator allows the operator to reduce the input gain when input clipping occurs Some manufacturers put attenuators in their snake or stage box to be able to control the sensitivity of the mic or signal source This is not the best approach if you are sending your signals through cable runs of any length Many times it would be impossible to make an adjustment on one of the attenuators if necessary during the performance You shouldn t have to run up to the stage and pick up the drummer s leg so you can adjust a mic input In use the operator must adjust the input attenuator in such a manner that input clipping is avoided This can easily be done by setting up the channel with the highest expected input sig nal level and adjusting the input attenuator so that no clipping or distortion is heard from the speaker system After the mixer has been used several times the operator will have a very good idea of the signal levels encountered and will be able to set up the attenuators accordingly The different types of microphones will have dif
5. er adjustment at that frequency will result in an undersirable overall sound 6 There will usually be two or more points at which any sound system will go into feedback Carefully tune out the second feedback point the same way as previously described After the second feedback point is removed by equalization little will be gained by further adjustment of the graphic equalizers At all times it should be remembered that the largest and most expensive systems will go into feedback at some point Over equalization should be avoided at all costs after a certain point only overall degradation of your sound will result CONNECTIONS All input connections to the PA 700S should be made with shielded cable to reduce the possibility of hum and noise pickup The low impedance microphone inputs are wired in accordance with professional industry standards Pin 1 is shield pin 2 is common and pin 3 is hot Extremely long cable runs may be made using the low impedance microphone inputs and low inpedance microphones When using the high impedance inputs cable lengths in excess of 30 feet should be avoided if optimum fidelity is to be obtained The low level outputs monitor effects etc from the PA 700S should be made using good quality shielded cable Although these outputs are of relatively low impedance cable lengths in excess of 50 feet should be avoided The high level or power outputs from the PA 700S must be made using number 16 or larger cab
6. er for the remaining circuits to function properly Common sense and experience opera ting the PA 7005 on several jobs will allow the operator to achieve superb results in virtually any mixing situation Our variable input attenuator allows for much more flexibility than some other manufacturer s mixers that only have switchable fixed attenua tion of maybe 10 to 20 dB where sometimes 10 dB may not be enough and 20 dB may be too much attenuation The PA 7008 s input attenuator is continuously variable from O dB to 40 dB The MONITOR SEND CONTROL 2 is the channel mixing element for determining the impor tant monitor mix The signal for the monitor send is obtained right after the input preamp and before the channel EQ This is referred to as a Monitor Pre send Control i e it is before or pre to the channel equali zation and slider level control This makes it independent of these controls meaning that any changes made to the EQ or channel level will not affect the monitor system Having the monitor send with the pre capability is absolutely vital to avoid feedback of the monitor system when EQ and normal incremental output variations are made in the channel fader during the course of the performance The equalization circuitry of the PA 700S is the latest active type utilizing negative feedback tech nology We selected circuitry that produces a shelving type of action because the conventional type circuitry used by s
7. ferent output levels and different performers will get widely varying levels from mics depending on the strength of their voices and or their basic mic techniques The input attenuator should be operated in the position yielding the least attenuation required to avoid clipping Operation in this mode allows maximum gain to be utilitized in the input preamp where it is most efficiently obtained Excessive input padding sometimes makes necessary higher settings of the channel gain controls and or master control thus yielding a less than optimum signal to noise ratio for any given situation It is important to realize that not all break up is caused by the mic signal overloading the input stage of the mixer If the performer s mic technique includes very close and or very loud situations the internal elements of the mic can bottom out or distort just as a loudspeaker can when it is overdriven Quite a few of the mics now used by performers lack the dynamic range required to adequately handle the tremendous sound pressure levels encountered in a very loud rock and roll concert situation It is vital for the professional soundman and the musicians to be aware of the limitations of the various links in the audio system in order to correctly diagnose and solve the various problems encountered in a sound reinforcement situation Overall the input attenuator is the first control in the circuit and must be set up properly in ord
8. ignal from the effects level return control on either both or any combination in between the A and B main channels This panning capability MUST be present to retain true stereo capability for the PA 7008 The action of this pan control is similar to those on the individual channels and should present no problem in operation The EFFECTS LEVEL 15 is the control that determines the overall signal output level for the effects send buss This effects buss has two output connectors associated with it one is a high level output that can be used to drive a power amplifier for an additional monitor system and the other is a low level output designed to drive the input of an effects device such as an echo unit phasor digital delay line etc In ad dition to driving the high and low level effects outputs the effects level control also determines the drive to the internal reverb delay lines This effects level control must be adjusted so that the output level from the jack on the rear panel does not overload the input circuitry of the effects unit you are driving thus causing clipping or other forms of distortion This is especially critical on some of the special effects units that are designed to work with guitars or other instruments with relatively low output levels The MAIN OUT D E jacks are designed to allow the addition of power amplifiers as required by the user The nominal output impedance is 600 Ohms with a typical level of 1 0 Volt r m s
9. in control and its settings will most definitiely influence the settings for the output slider with any given input signal The input attenuator should be adjusted for the maximum gain that will allow distortion free performance then the output slider level should be adjusted for proper mix It is very poor operating practice to use the input pads in the extreme cut positions and then have to set the output sliders in their close to maximum positions to obtain adequate channel output This type of operation results in less than optimum signal to noise ratios as well as contributing to headroom preb lems As with any system common sense must be combined with operating knowledge to produce satisfactory results Overall the channel controls should be set to provide a reasonable amount of ad justment i e none of the gain controlling elements input attenuator output slider should be operated near their extreme up or down positions After several hours usage the operator will have acquired a good feel for the characteristics of the controls and should be able to suitably handle any mixdown situation encountered in the field with satisfactory results The master area of the PA 700S contains all the master or final output controls for the mixing busses The main mixing buss equalization features shelving type high and low EQ The Effects level is the master control for the effects mixing buss The master level controls 8 9 10 of the
10. is generally at some considerable distance from the mixer It is because the mixer is usually located remotely from the performing area that it is sometimes difficult for the monitor equalization to be performed at the mixer The METER SET CONTROLS 17 18 enables the VU METERS 19 20 to be adjusted for proper indication of the relative output power of the internal power amplifiers of the PA 700S When the PA 700S is received the meters will be properly calibrated to indicate the clipping point of the power amplifiers Occasional deflection into the red zone is normal but continual pegging of the needles is to be avoided The HEADPHONE LEVEL CONTROL 21 adjusts the signal level at the headphone output jack The headphone jack is a standard stereo type jack Any impedance headphones may be used with the PA 7008 REAR PANE The PA 700S rear panel features a complete patching panel for various input and output functions as well as the microphone input connectors for each channel Each patch point is given an alphatical diagram letter for identification purposes The high impedance input connectors are standard phone jacks The low impedance input connectors are of the cannon type three conductor connectors to be used for low impedance microphones only and will accept 150 to 600 ohm microphones CAUTION NEVER USE THE LOW IMPEDANCE AND HIGH IMPEDANCE INPUTS SIMULTANEOUSLY The PA 700S is a stereo mixer with self contained p
11. le Because of the low impedance and high currents involved excessive power loss will be experienced if smaller wire is used It is very important that all power output connections be securely made in the con nector If there is any question of connector and cable integrity consult a competent service technician gt gt Fo 27 Cle ltt v Ga 7 y oraeme a T T ine U Ta H a PEAVEY ELECTRONICS CORP 711 A Street Meridian Mississippi 39301 Printed in US A SPE Re Peavey Electronics Corp TAL A Street Meridian Missi ippi 39301 Frequency Response 20 0 Hz 20 0 kHz 2 0 dB 130 Watts r m s Output Total Harmonic Distortion 0 15 THD 20 Hz 20 kHz 130 Watts r m s Output Equivalent Input Noise Low Z input 123 dBV 150 Ohms 0 7 uV High Z input 80 dB below 2 0 V r m s 20 0 dB gain Crosstalk 50 0 dB 1 0 kHz between A and B outputs 70 0 dB 1 0 kHz between monitor and effects outputs Inputs Low impedance unbalanced microphone 600 Ohm cannon plug High impedance unbalanced line 50 0 k Ohm inch phone plug Input Attenuator Continuously variable gain from O dB to 40 dB Used on both line and microphone inputs Mixer Gain 60 0 dB with graphic equalizers in flat po
12. lockwise position The vertical 12 o clock position yields a flat no boost or cut response and is the position from which all tonal balancing should be started The HIGH FREQUENCY EQUALIZER 3 is capable of 15 dB boost or cut 5 kHz with a shelving characteristic sloping down to the crossover point The boost or cut action of this control is very similar to that of the low equalizer with the exception of its high frequency effect Boost is obtained to the right of center position while cut is obtained to the left of the center position Flat response is obtained in the center 12 o clock position Caution should be exercised in using extreme low frequency boost to avoid emphasizing objectionable wind noises or rumble from the microphone as well as any hum that might enter the mixer from external sources Excessive treble boost should be avoided to keep residual noise from the amplification circuitry to reasonable level as well as to avoid a strident or screeching tonality in the output program material The EFFECTS SEND CONTROL 5 is the channel level for determining the amount of signal from each respective channel to be sent to the effects output or to be mixed into the reverb summing buss The effects send circuit has been designed to provide multiple functions which will be explained further in the master control section The STEREO PAN 6 is the control used to achieve the desired balance from each individual channel into the A and
13. ment When used for feedback suppression the normal operating mode will be in the CUT configuration It is very important that both equalizers be adjusted to the center or flat position before starting the feedback suppression procedure The following procedure will aid in correctly adjusting the graphic equali zers 1 Adjust the graphics to the center or flat position 2 Adjust the individual channel EO controls for the desired tonal quality 3 Slowly start increasing the master level controls until feedback occurs A point worth noting is that one or more microphones on stage will be more prone to feedback than others This is rather easily determined Just place your hand over the front of the microphone Feedback should occur immediately if that microphone is at the threshold point Keep this microphone mind when per forming the remainder of this procedure 4 At this point the system should be trying to go into a feedback mode Move your hand in front of the worse case micophone if necessary to cause a sustained feedback condition DO NOT ALLOW the system to go into a completely uncontrolled feedback condition 5 Slowly adjust each band of the graphic equalizers until the first feedback frequency is found Always adjust one slider at a time and if that slider does not reduce the feedback return it to the center position Once the frequency is found adjust the equalizer slider to the point at which the feedback stops Any furth
14. ome manufacturers tends to create erratic or sometimes harsh sounding results when in the near maximum boost positions These two equalization controls will produce extremely smooth action as well as giving effective tone control Experience will show their utility in achieving professional channel equalization on the job It should be remembered that these active equalization circuits are a form of electronic crossover in which the equalization controls are similar to level controls for their respective frequency bands Generally it is poor operating practice to use both equalizer controls in the deep cut counter clock wise positions since this results in substantially lower gain from the channel It should be remembered that the balance of highs and lows is a relative situation and cutting overall channel gain should properly be done by the output slide attenuator or input attenuator The LOW FREQUENCY EQUALIZER 4 is capable of better than 15 dB boost or cut 100 Hz with a sloping characteristic exhibited up to the crossover point The shelving action of this control has proven to yield a much more satisfying and effective equalization characteristic than some of the wide open equalization circuits claiming 20 25 dB boost and cut The action of this equalization control is conventional and should present no problem in operation Boost is obtained in the righthand clock wise position while cut is obtained in the lefthand counter c
15. ower amplifiers therefore many of the input and output patch points perform the same functions For this reason only one set of connectors will be ex plained in detail The POWER AMP IN A jack allows a signal to be connected directly to the internal power ampli fier When a plug is inserted in this jack none of the front panel level controls will be functional All mixer functions are disconnected when this jack is in use The GRAPHIC IN B jack enables a signal to be injected directly into the graphic equalizer and through to the power amplifier associated with that equalizer All mixer functions are disabled when this jack is in use The GRAPHIC OUT C jack allows the user to have access to the channel output signal after the graphic equalizer and prior to the power amplifier It is possible to mix an additional input at this point if the signal to be mixed is froth a low impedance source and has a level of approximately 1 0 Volt r m s NL a CHANNEL ee 19 20 GRAPHIC EQUALIZERS 11 12 are provided for each of the outputs from the master section Each equalizer is capable of 12 0 dB of boost or cut at nine frequencies The equalizers are of the latest active filter network design for maximum reliability and performance When correctly used graphic equalizers are a valuable tool for feedback suppression and compensating for speaker system deficiencies They should not be considered as a cure all for every acoustic environ
16. signed a system that provides an automatic patching facility for the internal reverb with the added flexi bility of being able to accept signals from outside sources This is accomplished by use of a switching jack on the rear panel reverb return If it should be necessary to use the reverb mixing buss for other purposes we have designed in the flexibility to allow this option The REVERB PAN 23 is the control that enables the operator to place the signal from the effects level control on either both or any combination in between the left and right main channels This panning capability must be present to retain true stereo stereo capability for the PA 700S The action of this pan control is similar to those on the individual channels and should present no problem in operation The MONITOR MASTER FADER 10 is the output level control for the main monitor system The same operating practices should be observed when using this control as when using the main channel con trols The individual channel monitor send controls should be set in such a manner that will allow the moni tor master slider fader to be operated somewhere in the middle of its travel to allow yourself adequate control margins up or down as might be required on the job The monitor output signal is flat that is we did not include equalization for the monitor in the PA 700S since this equalization is usually external to the mixer and is best performed on the stage itself which
17. sition Outputs A and B power outs 130 Watts r m s Z 4 0 Ohms A and B Main and Monitor Unbalanced 5 0 V r m s into 10 0 k Ohms 2 0 V r m s into 600 Ohms 8 0 dBm Effects High Unbalanced 2 0 Volts r m s into 10 0 K Ohms Effects Low Unbalanced 0 20 Volts r m s into 10 0 K Ohms Graphic Equalizer Outputs Unbalanced 4 0 Volts r m into 600 Ohms Inputs Power Amp input for mamixum output 1 20 Volts r m s Effects Return Level Control Maximum 0 15 Vr m s Aux Inputs Monitor 2 50 V r m s Effects 2 50 V r m s Graphic Equalizer All sliders adjusted to indicated flat response 4 0 Volts r m s Effects Return Control Maximum 0 50 Volts r m s Equalization Channel Infinitely variable boost and cut 15 0 dB 100 0 Hz and 5 0 kHz each channel Equalization Graphic Equalizers Infinitely variable boost and cut 12 0 dB at 9 frequencies Specifications and features printed in this manual are subject to change without notice
18. t as well as he knows his instrument so that his reactions will be both smooth and proper to correct whatever problem or requirement that should arise during a performance a professional must work at it The MASTER OUTPUT FADERS 8 9 are the controls that determine the main output level for the output connectors located on the rear panel and to the internal power amplifiers The main summing amps as well as the other summing busses are of the very latest zero null type using negative feedback to achieve maximum dynamic range lowest noise and crosstalk The master faders should be operated in ac cord with the proper operating practices as outlined above Experimentation and experience on several jobs will allow the operator to achieve a feel for the right settings for his requirements The EFFECTS RETURN 13 is the gain control for the effects return jack located on the rear panel This effects return input enables the signal from an external source to be mixed back into the main A and B mixing busses This Effects return is similar to an auxiliary input and actually may be used as such This feature is intended to be used with effects or other devices that are used in conjunction with the effects output and the signal return from the external unit should be brought into the effects return whose level is controlled by the Effects Return Control The EFFECTS PAN 14 is the control that enables the operator to place the s
19. ytime access is needed to the effects mixing buss The EFFECTS RETURN JACK M is where the signal returning from an effects device patches into the PA 700S The POWER SWITCH is the type that enables the operator to easily reverse the polarity of the line or mains cable This is provided to minimize buzz by proper polarization of the AC power supply mains connection SPECIAL NOTE Some export versions of the PA 7008 do not have the two way switch and the preceding information should be disregarded for these models A HEAVY DUTY POWER MAINS CABLE is provided for durability under road conditions This is a three wire approved cord and it is NOT advisable to remove the ground pin under ANY circumstances If you should find it necessary to operate the system where the proper three wire receptacles are not available you should use a three to two wire adaptor 15 3 14 EFF LEVEL o REV RETURN The REVERB CONTOUR 16 is the control used to vary the tonality of the reverb signal and is a low cut type equalizer This contour control is very useful in tailoring the reverb sound and in controlling reverb induced feedback Balancing these reverb controls will yield many combinations of reverb delay tonality and sustain The REVERB RETURN 22 is the gain control element for the reverb system which normally con sists of the internal delay line unless the switching jack for the reverb return has been plugged into We have de
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